Marie J. Jean

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	<title>Marie J. Jean</title>
	<link>https://mariejjean.com</link>
	<description>Marie J. Jean</description>
	<pubDate>Mon, 17 Jan 2022 18:58:26 +0000</pubDate>
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		<title>Slideshow</title>
				
		<link>https://mariejjean.com/Slideshow</link>

		<pubDate>Tue, 04 Jan 2022 15:36:09 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

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		<description>1920 — 2020
Les années musicales &#38;nbsp; 
The Musical Years


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		<title>Sorel Cohen</title>
				
		<link>https://mariejjean.com/Sorel-Cohen</link>

		<pubDate>Tue, 04 Jan 2022 15:36:11 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

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		<description>Sorel Cohen s’est distinguée sur la scène artistique
montréalaise, dès les années 1970, par une approche féministe et
conceptuelle de la photographie. Ce fait nous apparaît comme une évidence, mais
aussi comme une version fragmentaire et certes inachevée des récits que
l’histoire de l’art nous a transmis jusqu’à présent. Un examen approfondi de la
pratique de l’artiste et de ses archives nous a permis de découvrir l’origine
des positions que l’artiste a défendues dans son travail photographique.C’est une série d’œuvres sculpturales qui nous a
immédiatement menées, en raison de sa portée critique, à nous engager dans une
relecture de son œuvre. Et pour cause : cette série nommée « Grid »
reprend cette référence formelle qu’est la grille. Mais les sculptures, ici,
mettent surtout à mal cette structure emblématique défendue par l’ambition
moderniste de plusieurs artistes, de Piet Mondrian à Guido Molinari en passant
par Sol LeWitt, et se faisant souligne l’emprise que le patriarcat avait sur
les femmes et sur elle-même.La méthodologie imaginée par Sorel Cohen sera cathartique à
plus d’un égard : elle reformulera certains éléments propres au modernisme
au moyen de la photographie et revisitera la représentation de la femme dans
l’histoire de la peinture post-renaissante.&#38;nbsp;Elle s’efforcera ainsi d’y trouver
les références de traumatismes enfouis pour faire tomber les barrières qui
assujettissent au patriarcat. L’artiste y parviendra, avec humour d’ailleurs,
en assénant à l’histoire de l’art une décharge critique et esthétique à
fonction libératrice.
Suite
Sorel CohenMétaphores conceptuelles /
 Conceptual&#38;nbsp;Metaphors
 
2021.11.18 — 2022.02.19
Co-commissariée avec Claudine Roger


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VOX, centre de l’image contemporaine


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Sorel Cohen
made her mark on the Montréal art scene beginning in the 1970s with her
feminist and conceptual approach to photography. That fact strikes us as
obvious, but also as a fragmentary and admittedly unfinished version of the
accounts conveyed to us by art history thus far. By conducting an in-depth
study of the artist’s practice and her archives, we have traced the origins of
the stances she has taken up in her photographic work.


It was “Grid”, a series of sculpture pieces that, because of
its critical sweep, immediately led us to engage in a rereading of Cohen’s
œuvre. And with good reason: as its title indicates, the series reprised the
traditional reference structure of the grid. But what those sculptures did,
primarily, was dismantle that emblematic structure integral to the Modernist
ambitions of artists ranging from Piet Mondrian to Guido Molinari to Sol
LeWitt, and in the process Cohen underscored the patriarchy’s dominance of
women and of herself.


The methodology devised by Cohen would prove cathartic in
more than one respect: she reworked certain elements specific to Modernism by
means of photography and revisited the representation of women in the history
of post-Renaissance painting. In so doing, she strove to find references to
concealed traumas so as to bring down the barriers that kept women in the sway
of the patriarchy. The artist succeeded—not without humour, incidentally—in
assailing art history with critical and aesthetic blows that had a liberating
function.


More


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		<title>Les années musicales</title>
				
		<link>https://mariejjean.com/Les-annees-musicales</link>

		<pubDate>Tue, 04 Jan 2022 15:36:14 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

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	Les années musicales&#38;nbsp;
 The Musical Years 
1920 — 20202020.08.18 - 2020.10.31VOX, centre de l’image contemporaine


Œuvre spécifique / Site Specific Works &#38;nbsp;Michaela Grill &#38;amp; Sophie TrudeauManon De Pauw &#38;amp; Pierre-Marc Ouellette
Cinéma abstrait / Abstract CinemaMartin Arnold, Henri Chomette, Marcel Duchamp, Viking Eggeling, Oskar
Fischinger, René Jodoin, Raoul Hausmann, Ludwig Hirschfeld Mack, Alexander
László, Ernst Lubitsch, Norman McLaren, Zdeněk Pešánek, Hans Richter, Gaston
Sarault, Kurt Schwerdtfeger, Ralph Steiner, Thomas Wilfred
Films d’animation / Animation FilmsCordell Barker, Martin Barry, Claude Cloutier, Amanda Forbis &#38;amp; Wendy Tilby,
Co Hoedeman, Julia Kwan, Alexandra Lemay, Michèle Lemieux, Diane Obomsawin
Vidéoclips / Music VideosMark Abramson &#38;amp; Edward Dephoure, Laurie Anderson, Associates in Science,
Ellis Bahl, Steve Barron, Brian Beletic, Robert Bleyer &#38;amp; John Moffitt, Blue
Source, Bucko &#38;amp; Tucko, David Byrne, Peter Care, Jake &#38;amp; Dinos Chapman,
Gaëtan Chataigner, Roman Coppola, Martin Creed, Chris Cunningham, Dave Davies
&#38;amp; Ray Davies, Jonathan Demme, Xavier Dolan, James Frost &#38;amp; OK Go &#38;amp;
Syyn Labs, Kevan Funk, Romain Gavras, Kevin Godley &#38;amp; Lol Creme, Michel Gondry,
Jerome Guiot &#38;amp; Paul van Haver, Winston Hacking, Jörn Heitmann, Tim Hope,
Yves Jacques, Matt Johnson, Stephen R. Johnson, Spike Jonze, Kahlil Joseph,
Emily Kai Bock, Kevin Kerslake, Daniel Landin, André Leduc, Robert Longo, David
Mallet, M.I.A., Mike Mills, Jean-Baptiste Mondino, Russell Mulcahy, Hiro Murai,
Tony Oursler, D. A. Pennebaker, Roy Pike &#38;amp; The BOX, Bill Pope &#38;amp; Randy
Skinner, Mark Romanek, Ladislav Rychman, Keith Schofield, Stéphane Sednaoui,
Jon Small, Cho Soo-hyun, Walter A. Stern, Corinne Stübi, Roland Stutz, Jan
Švankmajer, Trabant, Matthew Vachon, Chad VanGaalen, William Wegman, Dougal
Wilson


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Au siècle dernier, à la suite de l’invention du
cinématographe, se sont succédé diverses technologies qui ont favorisé la
synthèse du son et de l’image. Les orgues à couleurs, le théâtre optique,
ou encore le sonchromatoscope, combinant projections et musiques, en sont des
exemples précurseurs. Mais ce sera par&#38;nbsp;l’entremise du cinéma, lorsque la
musique se verra synchronisée avec l’image, que ce champ d’expérimentation se
renouvellera, de façon radicale. Cette exposition permet d’observer les
mutations de cette production audiovisuelle à partir d’œuvres
cinématographiques et musicales, où s’exerce une tension relative entre image
et musique. En effet, le plus souvent, la relation entre l’une et l’autre
relève de la subordination&#38;nbsp;: ou bien la production visuelle relaie la
musique à un rôle secondaire, ou bien l’image est utilisée pour illustrer une
composition musicale.
L’intention de cette exposition est d’offrir une expérience
spatiale et musicale de ces œuvres produites depuis cent ans, tout en
engageant les publics dans une réflexion sur ce processus de visualisation de
la musique et de musicalisation des images.&#38;nbsp;Des artistes actuels y côtoient des
cinéastes de l’avant-garde, dans un parcours incluant des films muets
sonorisés, du cinéma abstrait et expérimental, des vidéoclips, en plus de
performances musicales. Une série de films d’animation complète ce
programme, spécialement conçu pour les enfants.
Suite


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Salle des abstraits / Abstracts Room
	
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Salle des vidéoclips / Music Videos Room


 In the last
century, the invention of the motion picture camera ushered in a succession of
diverse technological developments conducive to the synthesis of sound and
images. Devices that combined projected images with music, such as
colour organs, the optical theatre and the Sonchromatoscope, were among early
examples. But it was through cinema, once it became possible to
synchronize music with moving pictures, that this field of experimentation
would be radically renewed. This exhibition provides opportunities to observe
changes in that audiovisual production through cinematic and musical works in
which a relative tension between image and music is exerted—for most often, the
relationship between the two is one of subordination: either the visual
production relegates the musical component to a secondary role, or the
pictures serve to illustrate&#38;nbsp;a musical composition.

&#60;img width="774" height="548" width_o="774" height_o="548" data-src="https://freight.cargo.site/t/original/i/a1d5ac54640fb56f473e7415ec15dc5cf9f8f9de308526b187d978e8a7df5f3a/annees-musicales-Musical-years-40.jpg" data-mid="129038372" border="0"  src="https://freight.cargo.site/w/774/i/a1d5ac54640fb56f473e7415ec15dc5cf9f8f9de308526b187d978e8a7df5f3a/annees-musicales-Musical-years-40.jpg" /&#62;
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/d838cdcf27bc585f557f853a064b388aabe484c81e6a8657ee85d2a993f915cf/annees-musicales-musical-years-0.jpg" data-mid="129033749" border="0"  src="https://freight.cargo.site/w/1000/i/d838cdcf27bc585f557f853a064b388aabe484c81e6a8657ee85d2a993f915cf/annees-musicales-musical-years-0.jpg" /&#62;
&#60;img width="1654" height="1080" width_o="1654" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c438edb2d99296e833909f99fc64b0ae34225b5c67b73d0c29f660bb5f6dbb16/IMG_2469-copie.jpg" data-mid="130660491" border="0"  src="https://freight.cargo.site/w/1000/i/c438edb2d99296e833909f99fc64b0ae34225b5c67b73d0c29f660bb5f6dbb16/IMG_2469-copie.jpg" /&#62;

Œuvre spécifique / Site Specific Works &#38;nbsp;
&#60;img width="1000" height="705" width_o="1000" height_o="705" data-src="https://freight.cargo.site/t/original/i/5f6237976afbf13cc651dd0ad12dec17303898bc943cd08706ce297861e9a6ff/annees-musicales-jeunesse.jpg" data-mid="129033748" border="0"  src="https://freight.cargo.site/w/1000/i/5f6237976afbf13cc651dd0ad12dec17303898bc943cd08706ce297861e9a6ff/annees-musicales-jeunesse.jpg" /&#62;


Cinéma d’animation / Animation films


The aim of this exhibition is to provide a spatial and
musical experience of these works produced over a span of a hundred years,
while prompting audiences to reflect on this process of visualization of
music and musicalization of images. Contemporary artists are featured
alongside film makers of the avant-garde in a circuit including silent films
with added sound,&#38;nbsp;abstract and experimental cinema, music videos, as well
as&#38;nbsp;musical performances. A series of animation films complements the
program, designed especially for children.
More


&#60;img width="1080" height="1440" width_o="1080" height_o="1440" data-src="https://freight.cargo.site/t/original/i/40b93831856ed875bbd6774ee0a973fa5bbab4e3444e99cc8a483cc2079e3ad8/IMG_8012-copie.jpg" data-mid="130660492" border="0"  src="https://freight.cargo.site/w/1000/i/40b93831856ed875bbd6774ee0a973fa5bbab4e3444e99cc8a483cc2079e3ad8/IMG_8012-copie.jpg" /&#62;Création d’un vidéoclip sur écran vert /&#38;nbsp;
Green screen music video


</description>
		
	</item>
		
		
	<item>
		<title>L'imaginaire radical</title>
				
		<link>https://mariejjean.com/L-imaginaire-radical</link>

		<pubDate>Wed, 05 Jan 2022 17:55:32 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/L-imaginaire-radical</guid>

		<description>


L’imaginaire radical : le contrat social est le premier
projet d’une série d’expositions qui porte sur l’Institution et son histoire et
qui vise à faire comprendre omment les artistes se sont associés ou opposés à
celle-ci pour peu à peu faire infléchir ses positions. L’intention est
d’observer une pratique singulière de critique institutionnelle qui conçoit
l’Institution (le système judiciaire, l’université, l’économie, etc.) comme un
ensemble de formes processuelles, en transformation continue.


Le système judiciaire est l’institution observée dans ce
premier volet. Les œuvres présentées mettent en question les outils et les
concepts juridiques – règles, procédures, contrats, jurisprudence, procès –
afin de révéler comment ils agissent sur l’art, son système et ses acteurs,
tout en transformant les règles du jeu social. Non seulement les artistes
s’approprient-ils les dispositifs juridiques, rendant manifeste leur dimension
éthique ou politique, mais ils étudient aussi les codes invisibles qui les
régissent – tels les enjeux entourant la propriété intellectuelle –, et qui
transforment inéluctablement leur travail et les institutions dans lesquelles
ils évoluent.


Suite
L’imaginaire radical : le contrat social
The Radical Imaginary: The Social Contract


 2018.09.13 —&#38;nbsp; 2018.12.15


&#60;img width="514" height="667" width_o="514" height_o="667" data-src="https://freight.cargo.site/t/original/i/cbd402052eef9ac88434ea524b0407f25f6724bde417b79736695de37d22265a/imaginaire-radical-jill-magid2.jpg" data-mid="129119621" border="0"  src="https://freight.cargo.site/w/514/i/cbd402052eef9ac88434ea524b0407f25f6724bde417b79736695de37d22265a/imaginaire-radical-jill-magid2.jpg" /&#62;


VOX, centre de l’image contemporaineAvec / with Agency, Carlos Amorales, John Boyle-Singfield, Jill
Magid, Milo Rau et/and Carey Young

Cabinet de lectureNina Beier, John Boyle-Singfield, Étienne Chambaud, Maria Eichhorn, Andrea
Fraser, arkadi lavoie lachapelle et Jean-Frédéric Ménard, Kelly Mark,
Nadia Myre et Le Club des Gentilshommes Avertis


&#60;img width="1968" height="1296" width_o="1968" height_o="1296" data-src="https://freight.cargo.site/t/original/i/46e4b29a1acd561894b577626a264de327bc68c0082713cad8826cdd9ab5c34f/imaginaire-radical-carey-young-0.jpg" data-mid="130652202" border="0"  src="https://freight.cargo.site/w/1000/i/46e4b29a1acd561894b577626a264de327bc68c0082713cad8826cdd9ab5c34f/imaginaire-radical-carey-young-0.jpg" /&#62;
	
	
&#60;img width="1000" height="660" width_o="1000" height_o="660" data-src="https://freight.cargo.site/t/original/i/5eb817b734615b71903b781f15e4b492898c1e5d72a0f2ca644e80f80c4ee70e/imaginaire-radical-jill-magid-01.jpg" data-mid="129119054" border="0"  src="https://freight.cargo.site/w/1000/i/5eb817b734615b71903b781f15e4b492898c1e5d72a0f2ca644e80f80c4ee70e/imaginaire-radical-jill-magid-01.jpg" /&#62;
&#60;img width="1805" height="1080" width_o="1805" height_o="1080" data-src="https://freight.cargo.site/t/original/i/119193357b33441a38c9cae646e6c35f3274cfd8fd9035f73f73c1767d7740f1/imaginaire-radical-jill-magid-3.jpg" data-mid="129121313" border="0"  src="https://freight.cargo.site/w/1000/i/119193357b33441a38c9cae646e6c35f3274cfd8fd9035f73f73c1767d7740f1/imaginaire-radical-jill-magid-3.jpg" /&#62;
&#60;img width="1000" height="600" width_o="1000" height_o="600" data-src="https://freight.cargo.site/t/original/i/2913821c76689cfa680c3d6def13ac57f10d0039574c876d2b2ace198caaf115/imaginaire-radical-jill-magid-02.jpg" data-mid="129119057" border="0"  src="https://freight.cargo.site/w/1000/i/2913821c76689cfa680c3d6def13ac57f10d0039574c876d2b2ace198caaf115/imaginaire-radical-jill-magid-02.jpg" /&#62;
&#60;img width="1000" height="690" width_o="1000" height_o="690" data-src="https://freight.cargo.site/t/original/i/31c926987e2c3c551e4ae65825c8da0e6582231ba7449ca56fcbde35e070fa54/imaginaire-radical-jill-magid-03.jpg" data-mid="129119058" border="0"  src="https://freight.cargo.site/w/1000/i/31c926987e2c3c551e4ae65825c8da0e6582231ba7449ca56fcbde35e070fa54/imaginaire-radical-jill-magid-03.jpg" /&#62;
&#60;img width="1000" height="634" width_o="1000" height_o="634" data-src="https://freight.cargo.site/t/original/i/5513d749c5dbefba2748215cc44f1cfbc45b6697b2271f3dd4bf53cc9f38d39d/imaginaire-radical-jill-magid-04.jpg" data-mid="129119060" border="0"  src="https://freight.cargo.site/w/1000/i/5513d749c5dbefba2748215cc44f1cfbc45b6697b2271f3dd4bf53cc9f38d39d/imaginaire-radical-jill-magid-04.jpg" /&#62;
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/18e5e0c9c64abcb3205c76e9660500468d9499e88a6e3cc15da1dc1c2e75464c/imaginaire-radical-john-boyle-singfield.jpg" data-mid="129119064" border="0"  src="https://freight.cargo.site/w/1000/i/18e5e0c9c64abcb3205c76e9660500468d9499e88a6e3cc15da1dc1c2e75464c/imaginaire-radical-john-boyle-singfield.jpg" /&#62;
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/215d2d9ca74399e4d0225e0a10f206a36a464b0223a6bf230f9203627d636c0a/imaginaire-radical-carlos-amorales.jpg" data-mid="129119053" border="0"  src="https://freight.cargo.site/w/1000/i/215d2d9ca74399e4d0225e0a10f206a36a464b0223a6bf230f9203627d636c0a/imaginaire-radical-carlos-amorales.jpg" /&#62;
&#60;img width="1080" height="1620" width_o="1080" height_o="1620" data-src="https://freight.cargo.site/t/original/i/8e60158aa2ee1a617069b04661bbd317ada7f7ed1045852544f634a1ec9fce1a/imaginaire-radical-andrea-fraser.jpg" data-mid="129119044" border="0"  src="https://freight.cargo.site/w/1000/i/8e60158aa2ee1a617069b04661bbd317ada7f7ed1045852544f634a1ec9fce1a/imaginaire-radical-andrea-fraser.jpg" /&#62;
&#60;img width="1000" height="639" width_o="1000" height_o="639" data-src="https://freight.cargo.site/t/original/i/3b006c936eb6dea6a7969cc9a584ff5ac18af83cfeadb45aa4f5229cb85cd869/imaginaire-radical-cabinet-curisite-01.jpg" data-mid="129119046" border="0"  src="https://freight.cargo.site/w/1000/i/3b006c936eb6dea6a7969cc9a584ff5ac18af83cfeadb45aa4f5229cb85cd869/imaginaire-radical-cabinet-curisite-01.jpg" /&#62;
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/3d923737e2f963985e429835fb20a7f1d9a5abf9d0b7633f5b1e2b1237629e55/imaginaire-radical-agency.jpg" data-mid="129119043" border="0"  src="https://freight.cargo.site/w/1000/i/3d923737e2f963985e429835fb20a7f1d9a5abf9d0b7633f5b1e2b1237629e55/imaginaire-radical-agency.jpg" /&#62;
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/ed032cca25a8e29bdb07c5ef0af5224fe41aa759e1de0863598dd11032190c1c/Imaginaire-radical-milo-rau.jpg" data-mid="129119065" border="0"  src="https://freight.cargo.site/w/1000/i/ed032cca25a8e29bdb07c5ef0af5224fe41aa759e1de0863598dd11032190c1c/Imaginaire-radical-milo-rau.jpg" /&#62;


The Radical
Imaginary: The Social Contract is the first project in a series of exhibitions
about the Institution and its history, seeking to understand how artists have
either associated themselves with or been opposed to it, gradually inflecting
its positions. The objective is to observe an alternative form of institutional
critique that conceives of the components of the Institution (the judicial
system, the university, the economy, etc.) as processual forms, in constant
transformation.


The
judicial system is the institution studied in this initial component. The
artworks presented call into question legal tools and concepts—rules,
procedures, contracts, jurisprudence, trials—so as to understand how they act
upon art, its system and its players, while altering the rules of the social
game. The artists not only appropriate the apparatus of the legal system,
exposing its ethical and political dimension, they also study the unseen codes
governing it: for example, issues around intellectual property, which are
inexorably transforming their work and the institutions in which they have
agency.


More


</description>
		
	</item>
		
		
	<item>
		<title>Jonathan Monk</title>
				
		<link>https://mariejjean.com/Jonathan-Monk</link>

		<pubDate>Wed, 05 Jan 2022 18:37:33 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/Jonathan-Monk</guid>

		<description>
	

&#60;img width="1080" height="1440" width_o="1080" height_o="1440" data-src="https://freight.cargo.site/t/original/i/ba0d8c4d05c11b49ac14c3721573719639e202b116f30d450231994f3568a953/jonathan-monk-exhibit-model14.jpg" data-mid="130407030" border="0"  src="https://freight.cargo.site/w/1000/i/ba0d8c4d05c11b49ac14c3721573719639e202b116f30d450231994f3568a953/jonathan-monk-exhibit-model14.jpg" /&#62;VOX, centre de l’image contemporaine


Jonathan Monk. Exhibit Model Three2017.11.16 — 2018.01.27

Les vues d’expositions occupent un rôle de plus en plus important depuis que les muséologues les font figurer dans les expositions. Si au départ cette documentation était placée sous vitrine, suivant un protocole documentaire introduit par la muséologie, elle a peu à peu été disposée sur des cimaises, acquérant parfois le statut d’œuvres d’art, pour enfin atteindre un format monumental et ainsi encourager l’expérience immersive de l’exposition documentée. Bien que son importance soit maintenant établie, notamment en ce qui concerne l’histoire des expositions, bien qu’elle ait aussi été mise à contribution pour contextualiser des œuvres et des expositions passées, en revanche on n’a peu étudié jusqu’à présent ses usages par les artistes. De fait, entre leurs mains, cette documentation fait davantage que d’actualiser un passé : elle introduit une manière nouvelle de pratiquer l’exposition.


	Jonathan Monk réalise pour l’occasion une exposition documentaire : les salles sont ainsi recouvertes d’images monumentales recelant des vues d’expositions diverses, présentées à des années d’intervalle dans des contextes à chaque fois différents. Y sont documentées de nombreuses œuvres — montrées dans des vues rapprochées ou des plans d’ensemble, des perspectives frontales ou obliques, en couleur comme en noir et blanc — lesquelles offrent une expérience spatiale pour le moins insolite, à la fois labyrinthique et vertigineuse. Alors que cette intervention photographique évoque d’emblée l’idée d’un livre monumental dont les pages se déplieraient à l’échelle de la galerie, la déambulation dans l’espace suggère plutôt une expérience cinématographique. Tout se passe en effet comme si des plans inattendus étaient intercalés dans le déroulement logique d’un plan-séquence, révélant dans un mouvement continu des expositions réalisées par Jonathan Monk depuis les années 1990.

Suite


&#60;img width="1633" height="1080" width_o="1633" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4bcab93d551baaedcb9a8e9d1dbe7efe781c40711c002edbb64ff691c3fc8266/jonathan-monk-exhibit-model-11.jpg" data-mid="130407025" border="0"  src="https://freight.cargo.site/w/1000/i/4bcab93d551baaedcb9a8e9d1dbe7efe781c40711c002edbb64ff691c3fc8266/jonathan-monk-exhibit-model-11.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ed8e476fb22af1a9ab4d5a1a4b44a47a981bde71a31d60efea54402f26bd113b/jonathan-monk-exhibit-model-03.jpg" data-mid="130407016" border="0"  src="https://freight.cargo.site/w/1000/i/ed8e476fb22af1a9ab4d5a1a4b44a47a981bde71a31d60efea54402f26bd113b/jonathan-monk-exhibit-model-03.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a7cc962f6eb7acf92ba7f1261eb22b98639d2107b1befa4999df5b63f113d42c/jonathan-monk-exhibit-model-01.jpg" data-mid="130407014" border="0"  src="https://freight.cargo.site/w/1000/i/a7cc962f6eb7acf92ba7f1261eb22b98639d2107b1befa4999df5b63f113d42c/jonathan-monk-exhibit-model-01.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f06ac97f255c7fa215ada20b386ca9e63ccef5704f15b6858d94383dd4928f7d/jonathan-monk-exhibit-model-02.jpg" data-mid="130407015" border="0"  src="https://freight.cargo.site/w/1000/i/f06ac97f255c7fa215ada20b386ca9e63ccef5704f15b6858d94383dd4928f7d/jonathan-monk-exhibit-model-02.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/46f72f6ab602bdbec842dcfd72d9f7579c735866811147c197ae39c8190e49d3/jonathan-monk-exhibit-model-04.jpg" data-mid="130407017" border="0"  src="https://freight.cargo.site/w/1000/i/46f72f6ab602bdbec842dcfd72d9f7579c735866811147c197ae39c8190e49d3/jonathan-monk-exhibit-model-04.jpg" /&#62;
&#60;img width="1080" height="1440" width_o="1080" height_o="1440" data-src="https://freight.cargo.site/t/original/i/6502a842e79c906d2e3be149f92ef5d882c4feef809d10cb8a948a41ad77aad4/jonathan-monk-exhibit-model-16.jpg" data-mid="130407029" border="0"  src="https://freight.cargo.site/w/1000/i/6502a842e79c906d2e3be149f92ef5d882c4feef809d10cb8a948a41ad77aad4/jonathan-monk-exhibit-model-16.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7d738be73715b48e0eae263ee869a8787d69875941e9bdaa4c76abe066ce9725/jonathan-monk-exhibit-model-08.jpg" data-mid="130407022" border="0"  src="https://freight.cargo.site/w/1000/i/7d738be73715b48e0eae263ee869a8787d69875941e9bdaa4c76abe066ce9725/jonathan-monk-exhibit-model-08.jpg" /&#62;
&#60;img width="1648" height="1080" width_o="1648" height_o="1080" data-src="https://freight.cargo.site/t/original/i/259ca032c5d10479e8d6d37cbf674298ebd0bca61ff0673606742357c9d4a54a/jonathan-monk-exhibit-model-10.jpg" data-mid="130407024" border="0"  src="https://freight.cargo.site/w/1000/i/259ca032c5d10479e8d6d37cbf674298ebd0bca61ff0673606742357c9d4a54a/jonathan-monk-exhibit-model-10.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f3795d0156aed115c887813f35225fa7927ef64140c77169dc94bac3a4a0f3d1/jonathan-monk-exhibit-model-06.jpg" data-mid="130407020" border="0"  src="https://freight.cargo.site/w/1000/i/f3795d0156aed115c887813f35225fa7927ef64140c77169dc94bac3a4a0f3d1/jonathan-monk-exhibit-model-06.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e96765378f287cf3f1f45bb2c66d774eab07b215328538ff748e6c109c3db842/jonathan-monk-exhibit-model-07.jpg" data-mid="130407021" border="0"  src="https://freight.cargo.site/w/1000/i/e96765378f287cf3f1f45bb2c66d774eab07b215328538ff748e6c109c3db842/jonathan-monk-exhibit-model-07.jpg" /&#62;
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&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3686197d1f3129cdbb9c5ac4cb68480fe755aad26d308350447b541bc9e35cd9/jonathan-monk-exhibit-model-13.jpg" data-mid="130407027" border="0"  src="https://freight.cargo.site/w/1000/i/3686197d1f3129cdbb9c5ac4cb68480fe755aad26d308350447b541bc9e35cd9/jonathan-monk-exhibit-model-13.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/44b02037dccb5cbbd3dd115e9d6a126142aa0cfbd8f7170c5ea0e7ec469cffa5/jonathan-monk-exhibit-model-15.jpg" data-mid="130407028" border="0"  src="https://freight.cargo.site/w/1000/i/44b02037dccb5cbbd3dd115e9d6a126142aa0cfbd8f7170c5ea0e7ec469cffa5/jonathan-monk-exhibit-model-15.jpg" /&#62;


	&#60;img width="1080" height="1440" width_o="1080" height_o="1440" data-src="https://freight.cargo.site/t/original/i/6502a842e79c906d2e3be149f92ef5d882c4feef809d10cb8a948a41ad77aad4/jonathan-monk-exhibit-model-16.jpg" data-mid="130407029" border="0"  src="https://freight.cargo.site/w/1000/i/6502a842e79c906d2e3be149f92ef5d882c4feef809d10cb8a948a41ad77aad4/jonathan-monk-exhibit-model-16.jpg" /&#62;


Exhibition views have taken on an increasingly important role since museum specialists began featuring them in exhibitions. Originally placed under glass, following a documentary protocol introduced via museology, this form of documentation was gradually displayed on walls, occasionally ascribed the status of art work, eventually attaining a monumental format and, as such, encouraging immersive experiences of documented exhibitions. Though its importance is now well established, especially with regard to the history of exhibitions, and though it has also been employed for the contextualization of past works and exhibitions, its use by artists has been little studied until now. For, in the hands of an artist, this documentation does more than actualize a past event: it ushers in a new way of practicing exhibition-based art.

  
Jonathan Monk has mounted for the occasion a documentary exhibition: the rooms are covered in monumental images presenting diverse exhibition views that span several years, in contexts that differ each time. They document many works—shown in close-up or wider views, from straight-on or oblique perspectives, in both colour and black &#38;amp; white—that provide an experience of the space that is unusual, to say the least: at once labyrinthine and dizzying. While this photographic action might at first suggest the idea of a monumental book with its pages unfolding at the scale of the gallery, walking through the space instead elicits a cinematographic experience. Everything proceeds as if unexpected views were intercut into the logical progression of a sequence-shot, revealing in one continuous movement the exhibitions created by Monk since the 1990s.


More</description>
		
	</item>
		
		
	<item>
		<title>Period Rooms</title>
				
		<link>https://mariejjean.com/Period-Rooms</link>

		<pubDate>Tue, 04 Jan 2022 15:36:13 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/Period-Rooms</guid>

		<description>
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2b14d28885cdc9f67485580f4d12200d4f0fc254b682d431df76adc1374e91eb/period-rooms-hoang-nguyen01.jpg" data-mid="129102690" border="0"  src="https://freight.cargo.site/w/1000/i/2b14d28885cdc9f67485580f4d12200d4f0fc254b682d431df76adc1374e91eb/period-rooms-hoang-nguyen01.jpg" /&#62;
&#60;img width="1669" height="1080" width_o="1669" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ded6815e85f9052bcf371a0e376d3acecdedba4372a305f86bff7b21c40adece/period-rooms-hoang-nguyen.jpg" data-mid="129102686" border="0"  src="https://freight.cargo.site/w/1000/i/ded6815e85f9052bcf371a0e376d3acecdedba4372a305f86bff7b21c40adece/period-rooms-hoang-nguyen.jpg" /&#62;


Jacqueline Hoàng Nguyễn


Château Ramezay


&#60;img width="1440" height="1080" width_o="1440" height_o="1080" data-src="https://freight.cargo.site/t/original/i/12ef97108e4ab9a35b2a807702b7c7c9f13d08e6902238399bce390b63f3a4e9/period-rooms-frederick-gravel-5.jpg" data-mid="129105062" border="0"  src="https://freight.cargo.site/w/1000/i/12ef97108e4ab9a35b2a807702b7c7c9f13d08e6902238399bce390b63f3a4e9/period-rooms-frederick-gravel-5.jpg" /&#62;
&#60;img width="1465" height="1080" width_o="1465" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e6ab1d95230811e121c702171ab91a09a17e02810a2707bc0f1594d82d84f6da/period-rooms-frederick-gravel-6.jpg" data-mid="129105063" border="0"  src="https://freight.cargo.site/w/1000/i/e6ab1d95230811e121c702171ab91a09a17e02810a2707bc0f1594d82d84f6da/period-rooms-frederick-gravel-6.jpg" /&#62;
&#60;img width="1440" height="1080" width_o="1440" height_o="1080" data-src="https://freight.cargo.site/t/original/i/06226216fd1d249cbc99c6ede614b93d5483a6482c84a1661407ea1e615934f9/period-rooms-frederick-gravel.jpg" data-mid="129102680" border="0"  src="https://freight.cargo.site/w/1000/i/06226216fd1d249cbc99c6ede614b93d5483a6482c84a1661407ea1e615934f9/period-rooms-frederick-gravel.jpg" /&#62;


Period Rooms8 expérimentations artistiques, 24 intérieurs
historiques / 8 art experimentations, 24 historic interiors
2019.06.12 — 2019.10.20
Château Dufresne, Château Ramezay, Oratoire Saint-Joseph du Mont-Royal, demeure de sir George-Étienne
Cartier, Fondation Guido Molinari et VOX, centre de l’image contemporaine 


&#60;img width="810" height="1080" width_o="810" height_o="1080" data-src="https://freight.cargo.site/t/original/i/11a2b0bf86661c1b07d18e844222f2ae1aa765e3acd2df259053516db86bdd3a/period-rooms-frederick-gravel-01.jpg" data-mid="129102676" border="0"  src="https://freight.cargo.site/w/810/i/11a2b0bf86661c1b07d18e844222f2ae1aa765e3acd2df259053516db86bdd3a/period-rooms-frederick-gravel-01.jpg" /&#62;
Frédérick Gravel, chorégraphe


Château Dufresne


	&#38;nbsp;


&#60;img width="1606" height="1080" width_o="1606" height_o="1080" data-src="https://freight.cargo.site/t/original/i/960730ba81b5c23dedf7bc77613061d155e304463397d9d7fffe142c3c0a7fb8/period-rooms-claire-savoie-1.jpg" data-mid="129102670" border="0"  src="https://freight.cargo.site/w/1000/i/960730ba81b5c23dedf7bc77613061d155e304463397d9d7fffe142c3c0a7fb8/period-rooms-claire-savoie-1.jpg" /&#62;
&#60;img width="1617" height="1080" width_o="1617" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6a39c52ed2f45223d60b2cbfa0c8ea2351d22aadfe15386f88546e1020eee9d1/period-rooms-claire-savoie-3.jpg" data-mid="129110858" border="0"  src="https://freight.cargo.site/w/1000/i/6a39c52ed2f45223d60b2cbfa0c8ea2351d22aadfe15386f88546e1020eee9d1/period-rooms-claire-savoie-3.jpg" /&#62;
&#60;img width="1559" height="1080" width_o="1559" height_o="1080" data-src="https://freight.cargo.site/t/original/i/991831eabea981a83e5daf9297794d4ac284cdf53ce25cb81c1585233363b502/period-rooms-claire-savoie-4.jpg" data-mid="129110859" border="0"  src="https://freight.cargo.site/w/1000/i/991831eabea981a83e5daf9297794d4ac284cdf53ce25cb81c1585233363b502/period-rooms-claire-savoie-4.jpg" /&#62;
&#60;img width="1642" height="1080" width_o="1642" height_o="1080" data-src="https://freight.cargo.site/t/original/i/17a8b8479343276a2e3f27e50b04513ac304f01e2b7abfb203a734777bbd78b7/period-rooms-claire-savoie.jpg" data-mid="129102671" border="0"  src="https://freight.cargo.site/w/1000/i/17a8b8479343276a2e3f27e50b04513ac304f01e2b7abfb203a734777bbd78b7/period-rooms-claire-savoie.jpg" /&#62;
&#60;img width="1552" height="1080" width_o="1552" height_o="1080" data-src="https://freight.cargo.site/t/original/i/91d179f9dab68233dff53fdcf81ca3232f55678d82007acc110507f76df69016/period-rooms-claire-savoie-5.jpg" data-mid="129110862" border="0"  src="https://freight.cargo.site/w/1000/i/91d179f9dab68233dff53fdcf81ca3232f55678d82007acc110507f76df69016/period-rooms-claire-savoie-5.jpg" /&#62;

Claire SavoieChâteau Dufresne


&#60;img width="1273" height="1080" width_o="1273" height_o="1080" data-src="https://freight.cargo.site/t/original/i/40a2f8cabd20f7ff143e12e799ff36dd4723e2fb9b802b10f7e412fa4d0c2c9d/period-rooms-klaus-scherubel-2.jpg" data-mid="129106673" border="0"  src="https://freight.cargo.site/w/1000/i/40a2f8cabd20f7ff143e12e799ff36dd4723e2fb9b802b10f7e412fa4d0c2c9d/period-rooms-klaus-scherubel-2.jpg" /&#62;
&#60;img width="1272" height="1080" width_o="1272" height_o="1080" data-src="https://freight.cargo.site/t/original/i/645cef7719a715e53286cf08797377b809f66a19622f8fa8e3ea8ac93fd80f64/period-rooms-klaus-scherubel1.jpg" data-mid="129106674" border="0"  src="https://freight.cargo.site/w/1000/i/645cef7719a715e53286cf08797377b809f66a19622f8fa8e3ea8ac93fd80f64/period-rooms-klaus-scherubel1.jpg" /&#62;

Klaus ScherübelVOX, centre de l’image contemporaine


&#60;img width="1390" height="1080" width_o="1390" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1e9610b830450db2b3d714c2c34365ef424696aefd7c556d3af9bee63394decc/period-rooms-jocelyn-robert.jpg" data-mid="129102700" border="0"  src="https://freight.cargo.site/w/1000/i/1e9610b830450db2b3d714c2c34365ef424696aefd7c556d3af9bee63394decc/period-rooms-jocelyn-robert.jpg" /&#62;


&#60;img width="1024" height="681" width_o="1024" height_o="681" data-src="https://freight.cargo.site/t/original/i/56f94e0d67a78aa546a737a1801a4abf40eed501c020ddc4c392154244889bc2/period-rooms_oratoire_st_joseph_steve-bates_web4-1024x681.jpg" data-mid="129110688" border="0"  src="https://freight.cargo.site/w/1000/i/56f94e0d67a78aa546a737a1801a4abf40eed501c020ddc4c392154244889bc2/period-rooms_oratoire_st_joseph_steve-bates_web4-1024x681.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/0c1c2f77e36a91929bd1eaeb9a0ec8862b5bb5d4d62c541bad7f22ae4ae33a62/period-rooms_oratoire_st_joseph_steve-bates_web5-1-1024x683.jpg" data-mid="129110689" border="0"  src="https://freight.cargo.site/w/1000/i/0c1c2f77e36a91929bd1eaeb9a0ec8862b5bb5d4d62c541bad7f22ae4ae33a62/period-rooms_oratoire_st_joseph_steve-bates_web5-1-1024x683.jpg" /&#62;
Steve BatesOratoire Saint-Joseph du Mont-Royal

	
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fc3fbc734c125c85423fcdeb74e081bf9c9368f933107aa1a918a7831ef7e7c1/pierre-dorion-period-rooms.jpg" data-mid="129102721" border="0"  src="https://freight.cargo.site/w/1000/i/fc3fbc734c125c85423fcdeb74e081bf9c9368f933107aa1a918a7831ef7e7c1/pierre-dorion-period-rooms.jpg" /&#62;&#60;img width="1746" height="1080" width_o="1746" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5a799313d619767925709b4e4e3ef13f9faf3936a3fb353cf37d188264c71458/period-rooms-pierre-dorion.jpg" data-mid="129102709" border="0"  src="https://freight.cargo.site/w/1000/i/5a799313d619767925709b4e4e3ef13f9faf3936a3fb353cf37d188264c71458/period-rooms-pierre-dorion.jpg" /&#62;


Pierre DorionChâteau Dufresne


&#60;img width="1000" height="671" width_o="1000" height_o="671" data-src="https://freight.cargo.site/t/original/i/47881a5c5f92a5967c3750a018482b7bbaa37a6d02735eb70bb917f6d6fcd940/period-rooms-klaus-scherubel-3.png" data-mid="129106981" border="0"  src="https://freight.cargo.site/w/1000/i/47881a5c5f92a5967c3750a018482b7bbaa37a6d02735eb70bb917f6d6fcd940/period-rooms-klaus-scherubel-3.png" /&#62;
&#60;img width="1694" height="1080" width_o="1694" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3a00a9f485a73633ad17b82b3e484dda7a8125dba0ff25bf92c809eb40c79364/period-rooms-klaus-scherubel.jpg" data-mid="129102707" border="0"  src="https://freight.cargo.site/w/1000/i/3a00a9f485a73633ad17b82b3e484dda7a8125dba0ff25bf92c809eb40c79364/period-rooms-klaus-scherubel.jpg" /&#62;
Klaus ScherübelVOX, centre de l’image contemporaine

&#60;img width="1660" height="1080" width_o="1660" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0ab37aceedc0c7f17e6611cec1c9af43b744f652d24ad116833bfdc9f57328f9/period-rooms-jocelyn-robert-01.jpg" data-mid="129102695" border="0"  src="https://freight.cargo.site/w/1000/i/0ab37aceedc0c7f17e6611cec1c9af43b744f652d24ad116833bfdc9f57328f9/period-rooms-jocelyn-robert-01.jpg" /&#62;Jocelyn RobertDemeure de sir George-Étienne
Cartier

&#60;img width="800" height="534" width_o="800" height_o="534" data-src="https://freight.cargo.site/t/original/i/2647af251338cbd7e11b0069ca3306bca17e0b4c0a113b6ee73c3bbfc5832ab9/period-rooms_molinari_thomas_begin_web4.jpg" data-mid="129110647" border="0"  src="https://freight.cargo.site/w/800/i/2647af251338cbd7e11b0069ca3306bca17e0b4c0a113b6ee73c3bbfc5832ab9/period-rooms_molinari_thomas_begin_web4.jpg" /&#62;
&#60;img width="800" height="534" width_o="800" height_o="534" data-src="https://freight.cargo.site/t/original/i/d502686a22a0e40413572998c952265f2ee2c6cf700df0ac2e8f7c471cefb3b9/period-rooms_molinari_thomas_begin_web5.jpg" data-mid="129110674" border="0"  src="https://freight.cargo.site/w/800/i/d502686a22a0e40413572998c952265f2ee2c6cf700df0ac2e8f7c471cefb3b9/period-rooms_molinari_thomas_begin_web5.jpg" /&#62;
&#60;img width="1619" height="1080" width_o="1619" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0a0f2c185153c60fb3a51168c81639ff4d2f81cca709b305ef96665c3176ae08/period-rooms-thomas-begin.jpg" data-mid="129102715" border="0"  src="https://freight.cargo.site/w/1000/i/0a0f2c185153c60fb3a51168c81639ff4d2f81cca709b305ef96665c3176ae08/period-rooms-thomas-begin.jpg" /&#62;
Thomas BéginFondation Guido Molinari


La period room&#38;nbsp;offre une expérience
spatiotemporelle hautement fascinante en campant ses visiteurs dans un
intérieur reconstituant un passé qui semble être loin dans le temps et figé
pour l’éternité. Ce vertige anachronique se trouve accentué lorsqu’un tel intérieur
est reconfiguré à partir du présent par des interventions artistiques.
Celles-ci font alors apparaître de nouveaux récits, autant historiques que
fictifs, ou suscite des associations avec un temps pourtant révolu. Ce faisant,
les interventions créent une ouverture provisoire dans le passé figuré par
la&#38;nbsp;period room,&#38;nbsp;encourageant les visiteurs à y faire des expériences
inédites.


Cette manifestation artistique présente les expérimentations
de sept artistes contemporains – Steve Bates, Thomas Bégin, Pierre Dorion,
Frédérick Gravel, Jacqueline Hoàng Nguyễn, Jocelyn Robert et Claire Savoie –
dans les intérieurs d’époque du Château Dufresne, du Château Ramezay, de
l’Oratoire Saint-Joseph du Mont-Royal, de la demeure de sir George-Étienne
Cartier et de la Fondation Guido Molinari. En parallèle, Klaus Scherübel
réalise à VOX, centre de l’image contemporaine une intervention artistique qui,
sous la forme de period rooms, reconstitue deux expositions organisées en
1947 par les artistes automatistes.
Suite


The period room offers a fascinating experience of space and
time: it locates visitors in an interior reconstituting a past that seems
remote, and frozen for eternity. This dizzying anachronistic effect is
accentuated when such rooms are reconfigured from the point of view of the
present day, through artists’ interventions. The latter can elicit new
narratives, whether historical or fictional, or foster associations with a time
that is long gone. In so doing, each intervention creates a temporary opening
into the past represented by the period room in question, encouraging visitors
to engage in new and unfamiliar experiences there.


This event presents experimentations by seven contemporary
artists—Steve Bates, Thomas Bégin, Pierre Dorion, Frédérick Gravel, Jacqueline
Hoàng Nguyễn, Jocelyn Robert, and Claire Savoie—in the period interiors of the
Château Dufresne, the Château Ramezay, Saint Joseph’s Oratory of Mount Royal,
the Sir George-Étienne Cartier residence, and the Guido Molinari Foundation.
Concurrently, at VOX, centre de l’image contemporaine, Klaus Scherübel has
produced an art intervention that employs the period room format to
reconstitute two exhibitions organized in 1947 by the Automatist artists.More


&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a4a733f4ffcfba554c7845394b1b07fb48049c784ed01c05dabf4ee0bf2afbbc/period-rooms-bates-trudeau.jpg" data-mid="129102669" border="0"  src="https://freight.cargo.site/w/1000/i/a4a733f4ffcfba554c7845394b1b07fb48049c784ed01c05dabf4ee0bf2afbbc/period-rooms-bates-trudeau.jpg" /&#62;Steve Bates et Sophie Trudeau, performance à l’orgueOratoire Saint-Joseph du Mont-Royal
</description>
		
	</item>
		
		
	<item>
		<title>Créer à rebours vers l'exposition</title>
				
		<link>https://mariejjean.com/Creer-a-rebours-vers-l-exposition</link>

		<pubDate>Sun, 16 Jan 2022 23:10:12 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/Creer-a-rebours-vers-l-exposition</guid>

		<description>
&#60;img width="1000" height="670" width_o="1000" height_o="670" data-src="https://freight.cargo.site/t/original/i/2d6db9326f42e593d3919e078b2301bdae1696bc6cf8bfd1b159b9b88714128f/creer-a-rebours-cas-aurora-borealis-1.jpg" data-mid="130417681" border="0"  src="https://freight.cargo.site/w/1000/i/2d6db9326f42e593d3919e078b2301bdae1696bc6cf8bfd1b159b9b88714128f/creer-a-rebours-cas-aurora-borealis-1.jpg" /&#62;
&#60;img width="1000" height="668" width_o="1000" height_o="668" data-src="https://freight.cargo.site/t/original/i/e0b4ea82ffd7f5b91bf4e4a9ab93357fe583aa4aed479751d08006a20de8cd59/creer-a-rebours-cas-urora-borealis.jpg" data-mid="130417689" border="0"  src="https://freight.cargo.site/w/1000/i/e0b4ea82ffd7f5b91bf4e4a9ab93357fe583aa4aed479751d08006a20de8cd59/creer-a-rebours-cas-urora-borealis.jpg" /&#62;

Créer à rebours vers l’exposition.
 
Le cas Aurora Borealis&#38;nbsp;
2016.11.18 - 2017.03.18


&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/84629454867c8c0f6a78063d496903e8c7b1ae3a6490dde1f3fb580b965c6c7f/creer-a-rebours-cas-peripheries-4.jpg" data-mid="130418259" border="0"  src="https://freight.cargo.site/w/1000/i/84629454867c8c0f6a78063d496903e8c7b1ae3a6490dde1f3fb580b965c6c7f/creer-a-rebours-cas-peripheries-4.jpg" /&#62;
&#60;img width="5215" height="3021" width_o="5215" height_o="3021" data-src="https://freight.cargo.site/t/original/i/d648d7cc30814c746155214da9bd6ccb8b25e169d96270a58deeba6427d7ab7e/creer-a-rebours-cas-peripheries-3.jpg" data-mid="130417685" border="0"  src="https://freight.cargo.site/w/1000/i/d648d7cc30814c746155214da9bd6ccb8b25e169d96270a58deeba6427d7ab7e/creer-a-rebours-cas-peripheries-3.jpg" /&#62;

Créer à rebours vers l’exposition
 
Le cas&#38;nbsp;Périphéries
2017.04.13 — 2017.06.23

&#60;img width="1000" height="762" width_o="1000" height_o="762" data-src="https://freight.cargo.site/t/original/i/30547ba6993892073acd151708faa55474fc678d0b2a80efd2971ae9cdba18f0/creer-a-rebours-cas-peripheries.jpg" data-mid="130417679" border="0"  src="https://freight.cargo.site/w/1000/i/30547ba6993892073acd151708faa55474fc678d0b2a80efd2971ae9cdba18f0/creer-a-rebours-cas-peripheries.jpg" /&#62;&#60;img width="800" height="519" width_o="800" height_o="519" data-src="https://freight.cargo.site/t/original/i/e9189359ef30dc4979f32a381e70830d370c99f46aa2c87408bc824e8efb52e2/03-23-03-pontbriand-theriault-de-duve.jpg" data-mid="130742067" border="0"  src="https://freight.cargo.site/w/800/i/e9189359ef30dc4979f32a381e70830d370c99f46aa2c87408bc824e8efb52e2/03-23-03-pontbriand-theriault-de-duve.jpg" /&#62;Créer à rebours vers l’exposition

 
Le cas de 03 23 03
2019.02.15 — 2019.04.27

Créer à rebours
vers l’exposition is a
research project on the history and future of exhibitions in Quebec, conducted at
VOX, centre de l’image contemporaine between 2016 and 2019. So far, it has
included the reactivation of seven exhibitions that were significant albeit
sometimes neglected in art history. While it is true that Créer à rebours
vers l’exposition has aimed to constitute archives that were often non-existent
in the cases studied, the reactivations have differed considerably in their
approaches, encompassing an installation, a period room, a voluminous lightbox, and the page layout of a
catalogue—thus creating a specific documentary experience each time.


Créer à rebours vers l’exposition


Co-commissariée avec Claudine Roger 
VOX, centre de l’image contemporaine


Créer à rebours vers
l’exposition est un projet de recherche sur l’histoire et le devenir des expositions
ainsi que sur leur documentation au Québec, mené à VOX, centre de l’image
contemporaine, de 2016 à 2019. Il a reposé sur la réactivation de sept
expositions remarquables – la seconde exposition des automatistes (1947), l’exposition Mousseau-Riopelle chez Murielle Guilbault (1947), Montréal, plus ou moins ? (1972), Périphéries (1974), 03 23 03 – Premières rencontres internationales d’art contemporain de
Montréal (1977), Aurora Borealis (1985), Chambres avec vues (1999) – bien que parfois négligées par
l’histoire de l’art.
S’il est juste de mentionner que Créer à
rebours vers l’exposition visait à constituer les archives souvent
inexistantes des cas étudiés, sur le plan de l’approche, leurs réexpositions
variaient considérablement, prenant les formes d’une scène théâtrale,
d’une installation, de la mise en page d’un catalogue, d’une boîte lumineuse
volumineuse, d’une period room ou
encore d’une réactivation de performance pour créer des expériences
documentaires à la fois actives et éclairantes.


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Créer à rebours vers l’exposition

 
Le cas de Chambres avec vues (Pierre Dorion)
2018.02.14 — 2018.03.31


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Créer à rebours vers l’exposition

 
Le cas de la seconde exposition des automatistes (1947)
Par Klaus Scherübel2019.02.15 — 2019.04.27


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	<item>
		<title>David Maljković</title>
				
		<link>https://mariejjean.com/David-Maljkovic</link>

		<pubDate>Sun, 16 Jan 2022 21:35:59 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/David-Maljkovic</guid>

		<description>
	David Maljković
 L’exposition à faire&#38;nbsp;/&#38;nbsp;The Exhibition Is Becoming
2016.01.14 — 2016.04.16VOX, centre de l’image contemporaine

L’exposition comme pratique artistique est loin d’être un phénomène nouveau si on considère que, dès le XIXe siècle et tout au long du XXe&#38;nbsp;siècle, des artistes ont élaboré des dispositifs expérimentaux qui ont contribué à radicaliser ses formes et ses conventions. Tout en adhérant à cette pratique, David Maljković apporte dans son travail récent de nouvelles balises au questionnement&#38;nbsp;: il conçoit de minutieuses scénographies qui se présentent, notamment, comme un commentaire sur l’exposition. Ce faisant, sa pratique relève de la méta-exposition puisque l’enjeu qui la détermine est celui de l’exposition elle-même. C’est une exposition à propos de l’exposition.

Pour sa première présentation majeure au Canada, Maljković a conçu une exposition spécifique qui s’offre à la manière d’un jeu complexe de formes et de références. Si les composantes qui la caractérisent – cubes blancs, socles, écrans, plateformes, enceintes acoustiques, projecteurs – sont le plus souvent observées par les spectateurs ou utilisées par les commissaires d’exposition en tant que dispositifs généralement neutres, Maljković démontre qu’elles constituent en fait une réalité autonome, ancrée dans l’histoire du modernisme et susceptible de faire surgir des souvenirs d’autres expositions.  


	&#60;img width="1000" height="701" width_o="1000" height_o="701" data-src="https://freight.cargo.site/t/original/i/f7e1552100d6b65ee5b6bd739220557c6652387ffb2e985d8f9eed7f90a27577/david-aljkovic-exposition--faire-7.jpg" data-mid="130513336" border="0"  src="https://freight.cargo.site/w/1000/i/f7e1552100d6b65ee5b6bd739220557c6652387ffb2e985d8f9eed7f90a27577/david-aljkovic-exposition--faire-7.jpg" /&#62;


Ainsi, lorsque Maljković organise une exposition de son travail, il montre les traces de ses expositions précédentes ; lorsqu’il conçoit une nouvelle installation, il la considère comme la composante d’une exposition globale ; et, lorsqu’il réexpose une œuvre, il la propose comme une séquence d’hypothèses de la même œuvre en devenir.
L’exposition, ainsi considérée comme un processus, devient ce mode à travers lequel l’œuvre se (re)produit sans cesse et, par conséquent, demeure inachevable. Il faut s’y résigner, produire une œuvre d’art aujourd’hui signifie que l’artiste doit s’engager dans une entreprise sans fin puisque, soumise à des actualisations successives, l’œuvre est contrainte de se répéter en intégrant chaque fois de nouvelles variables.
Suite


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The exhibition as an art practice is hardly a novel phenomenon when one considers that, beginning in the 19th century and throughout the 20th, artists developed experimental apparatuses that contributed to radicalizing its forms and conventions. The recent work of David Maljković adheres to that practice while at the same time expanding the field of questioning: he stages meticulous environments that manifest themselves, among other things, as commentaries on the fact of exhibiting. As such, his art is about meta-exhibition, because its undergirding issue is exhibition. In short, they are exhibitions about exhibition.

 
For his first major show in Canada, Maljković has developed a specific exhibition that unfolds as a complex array of forms and references. Its components—white cubes, pedestals, screens, platforms, loudspeakers, projectors—are typically viewed by spectators, or used by exhibition curators, as generally neutral display devices, but Maljković demonstrates that they are in fact an autonomous reality, rooted in the history of Modernism and likely to spark memories of other exhibitions. Consequently, when he mounts an exhibition of his work, he shows the traces of his previous shows; when conceptualizing a new installation, he considers it as a component of a global exhibition; when showing a work on a new occasion, he posits it as a sequence of hypotheses of the same work in the process of becoming. Viewed thusly as a process, the exhibition is the method by which the work is (re)produced again and again—so it remains unfinishable. Because it is clear that making a work of art today signifies that the artist must engage in an undertaking without end, considering that, in being submitted to successive actualizations, it is bound to repeat itself and incorporate new variables each time.More
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	<item>
		<title>Serge Tousignant</title>
				
		<link>https://mariejjean.com/Serge-Tousignant</link>

		<pubDate>Mon, 17 Jan 2022 18:33:50 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/Serge-Tousignant</guid>

		<description>Serge Tousignant imagine des expositions. Ses œuvres surgissent donc au terme d’un processus où, déjà en amont, elles sont conçues pour aboutir à une exposition. Du moment où il a l’idée d’une série d’œuvres, il les destine à une scénographie. L’exposition s’offre ainsi à lui comme une scène imaginaire dans laquelle il crée des relations entre les œuvres et l’espace de sorte qu’elle contribue à infléchir une nouvelle production. Partant de sa manière de travailler, il nous a semblé pertinent de concevoir cette rétrospective autour des expositions qui ont représenté des tournants importants dans sa pratique artistique. Reconstituer ainsi le fil de ces réalisations offre un itinéraire étroitement lié à l’histoire des expositions au Québec puisque, depuis 1966, Tousignant a participé à de nombreuses expositions significatives : Présence des jeunes (Musée d’art contemporain, Montréal, 1966), Sculptures &#38;amp; papiers pliés (Galerie Godard Lefort, 1968), Québec 75 (Musée d’art contemporain, Montréal, 1975),&#38;nbsp;Géométrisations (Optica, Montréal, 1979), Travaux récents (Galerie Yajima, 1984), etc. En contextualisant ces expositions, il ne s’agit nullement pour nous de les enchâsser dans un récit historique, ni même de les réifier en vue de les canoniser ensuite; bien plutôt, nous souhaitons mieux étudier la complexité du phénomène en vue d’approfondir une réflexion sur la fonction des expositions dans la pratique des artistes.
Suite
Serge Tousignant&#38;nbsp;
Exposés de recherche
 

2017.04.13 — 2017.06.23

Co-commissariée avec Claudine Roger

&#60;img width="1024" height="817" width_o="1024" height_o="817" data-src="https://freight.cargo.site/t/original/i/0dd04c67eb56db55c3a8c693d6183d54ad4adb15eaf4ae09c74f0fff0fcf6878/publication-serge-tousignant-retrospective.jpg" data-mid="130506989" border="0"  src="https://freight.cargo.site/w/1000/i/0dd04c67eb56db55c3a8c693d6183d54ad4adb15eaf4ae09c74f0fff0fcf6878/publication-serge-tousignant-retrospective.jpg" /&#62;
VOX, centre de l’image contemporaine
Une monographie poursuit l’examen d’expositions significatives dans le parcours de Serge Tousignant afin de comprendre comment celles-ci ont représenté pour lui un véritable laboratoire de recherche et d’expérimentation.


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Serge Tousignant envisions exhibitions. That is to say, his works emerge at the close of a process in which, early on, they are planned to end up in an exhibition. From the moment he conceives of a series of works, he has a scenography in mind for them. The exhibition is thus open to him as an imaginary stage on which he composes relations between the works and the space, influencing a new production. Taking up his way of working, it seemed logical to us to design this retrospective around the exhibitions that constituted emblematic turning points in his art practice. Retracing the thread of those achievements in this way results in an itinerary closely linked to the history of exhibitions, given Tousignant’s participation, beginning in 1966, in landmark Quebec exhibitions such as Présence des jeunes (Musée d’art contemporain, Montréal, 1966), Sculptures &#38;amp; papiers pliés (Galerie Godard Lefort, 1968), Québec 75 (Musée d’art contemporain, Montréal, 1975), Géométrisations (Optica, 1979), Travaux récents (Galerie Yajima, 1984), and so on. Our goal in contextualizing these shows is by no means to embed them in a historical narrative, nor to reify them for eventual canonization; rather, we seek to better study the complexity of the phenomenon, with a view to more in-depth consideration of the function of exhibitions in artists’ practice.


In tandem with this retrospective, a monograph has been published, furthering our study of significant exhibitions in Tousignant’s career and seeking to understand how he viewed them as veritable laboratories that allowed for research and experimentation.


More


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	</item>
		
		
	<item>
		<title>Irene F. Whittome</title>
				
		<link>https://mariejjean.com/Irene-F-Whittome</link>

		<pubDate>Mon, 17 Jan 2022 18:58:26 +0000</pubDate>

		<dc:creator>Marie J. Jean</dc:creator>

		<guid isPermaLink="true">https://mariejjean.com/Irene-F-Whittome</guid>

		<description>Room 901 est une vaste entreprise qui a conduit Irene F. Whittome à travailler deux années consécutives dans son atelier pour y réaliser une œuvre qui fera l’objet d’une documentation systématique. L’atelier de la rue Saint-Alexandre devient alors le support d’une intervention spécifique qui se transformera d’octobre 1980 à juillet 1982. Son intervention sur le lieu sera pour l’essentiel picturale bien qu’elle soit complétée par des arrangements d’objets. Elle peint une forme sur le mur adjacent aux fenêtres voûtées, laquelle semble dans toutes les étapes de sa modification tendre vers le motif de la croix : un carré noir sur fond blanc, une bande blanche sur fond gris, un carré blanc sur fond gris, une croix tronquée sur fond blanc et, au final, une croix noire sur fond blanc. Ce vocabulaire formel élémentaire rappelle immédiatement les recherches picturales de Kazimir Malevitch bien que les déterminismes en soient différents. Whittome reproduit des formes minimales qu’elle soumet à des transformations quotidiennes, pendant plus de six cents jours, tout en les documentant sous différentes variations lumineuses. Le film tout comme les centaines de photographies documentent le temps que l’artiste a ainsi passé à travailler dans son atelier. Mais contrairement à ce que la méthode de documentation annonce, les images ne montrent pas le processus de réalisation – où l’œuvre se présenterait dans un état non résolu ou encore inachevé – puisque, bien au contraire, elles sont produites pour documenter des compositions picturales successives, toutes abouties.

Suite
Irene F. Whittome
Room 901
 

2013.01.25 — 2013.09.03

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VOX, centre de l’image contemporaineAu terme de ce travail, plus de 1500 photographies, un film 16 mm, des boîtes-maquettes ainsi que trois expositions ont été réalisés. Trente ans plus tard, Room 901 fait l’objet d’une réflexion sur les modalités de réactivation d’une intervention spécifique tout en offrant l’occasion d’examiner le statut variable d’une œuvre, de sa documentation et de ses expositions.


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Room 901 is a vast undertaking that led Irene F. Whittome to work in her studio for two consecutive years, creating a work and systematically documenting its production.&#38;nbsp;The studio on Saint-Alexandre St. then became the medium for a site-specific process that evolved from October 1980 to July 1982. Whittome’s action at the site would be essentially pictorial in nature, though complemented by arrangements of objects. On the wall adjacent to the arched windows, she painted a figure, which through its many stages of modification tended to resemble a cross: a black square on white background, a white band on grey background, a white square on grey background, a shortened cross on white background and, finally, a black cross on white background. That elementary formal vocabulary immediately calls to mind the pictorial research of Kazimir Malevich, though in the two cases the causal chains are quite different. Whittome reproduced minimalist shapes that she changed every day over the course of more than six hundred days, while documenting them under various lighting conditions. The film and the hundreds of photographs are documents of the time the artist spent working in her studio in this manner. But unlike what this method of documentation heralds, the images do not show the process of production, in which the work might be seen in an unresolved, or incomplete, state. Quite the contrary: they were made to document a succession of pictorial compositions, each of them quite fully developed.


The enterprise resulted in more than 1,500 photographs, a 16mm film, several boxes cum display cases, and three exhibitions. Thirty years later, Room 901 is the subject of a reflection on the modalities for re-enactment of a site-specific intervention, and provides the opportunity to examine the variable status of a work, its documentation and its exhibitions.


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